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The concerto has attracted relatively little attention as a genre, Joseph Kerman observes, and his urbane and wide-ranging Norton Lectures fill the gap in a way that will delight all music listeners. Kerman addresses the full range of the concerto repertory, treating both the general and the particular. His perceptive commentary on individual works--with illustrative performances on the accompanying CD--is alive with enthusiasm, intimations, and insights into the spirit of concerto.
Concertos model human relationships, according to Kerman, and his description of the conversation between solo instrument and orchestra brings this observation vividly to life. What does the solo instrument do when it first enters in a concerto? How do composers balance claims of solo-orchestra contrast and solo virtuosity? When do they deploy the sumptuous musical textures that only concertos can provide? Kerman's unexpected answers offer a new understanding of the concerto and a stimulus to enhanced listening.
In language that the Boston Globe's Richard Dyer calls "always delightfully vivid," Kerman conducts readers and listeners into the conversations that concertos so eloquently enact. Amid the musical forces at play, he renews the dialogue of music lovers with the language of the concerto--the familiar, the lesser-known, the cherished, and the undervalued. The CD packaged with the book contains movements from works that Kerman treats most intensively--by Bach, Mozart, Beethoven, Liszt, Tchaikovsky, Bartók, Stravinsky, and Prokofiev.
Review: For more than 40 years, since his seminal book Opera as Drama, Joseph Kerman has been among the most perceptive and lucid commentators on music. Readers new to his work will find a highly personable companion in Concerto Conversations, while those who already know it can appreciate a late-period distillation of his methods. In typical fashion, Kerman begins not with a preface of introduction but with a chapter on beginnings. There is a general division of the dynamic between soloist and orchestra into the concepts of "reciprocity" versus "polarity," but the book is really more a collection of highly individual observations about specific concertos. Kerman touches on some works lightly and deftly while giving others a fuller treatment. Beethoven's Third Piano Concerto, Tchaikovsky's Violin Concerto (Kerman, blessedly, takes Tchaikovsky very seriously), Stravinsky's Concerto for Piano and Winds, and Mozart's D Minor Piano Concerto get the widest overviews.
We find Kerman's love of language throughout: "High noon! One can almost see solo and orchestra glaring at each other" in the Beethoven; the strings in the Tchaikovsky are "sisterly, and secular." Kerman tosses off provocative ideas along the way: the concerto has already postdated the symphony, the great contrapuntist Bach used a fugal introduction to a concerto only once, and particular events in the life of Liszt affected his piano concertos. Kerman makes an important point in contrasting virtuosity with bravura. These elegant, concise lectures were first conceived for the Norton series at Harvard. A 12-track, 69-minute CD of musical examples (along with extensive musical quotations in an appendix) is included. --William R. Braun
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Descrizione libro Condizione libro: Good. This item is in good condition. All pages and covers are readable. There are no stains or tears. Dust jacket is present if applicable. May contain small amounts of writing and/or highlighting. Spine and cover may show signs of wear. May not contain supplementary items such as CD's or DVD's. We ship within 1 business day. Codice libro della libreria 34FA2Z001PV5_ns
Descrizione libro Condizione libro: Good. This item is in good condition. All pages and covers are readable. There are no stains or tears. Dust jacket is present if applicable. May contain small amounts of writing and/or highlighting. Spine and cover may show signs of wear. May not contain supplementary items such as CD's or DVD's. We ship within 1 business day. Codice libro della libreria 34FA2Z001PV5
Descrizione libro Harvard University Press. Paperback. Condizione libro: VERY GOOD. little to no wear, pages are clean. The cover and binding are crisp with next no creases. Codice libro della libreria 2768395038
Descrizione libro Condizione libro: Very Good. Book Condition: Very Good. Codice libro della libreria 97806740067373.0
Descrizione libro Harvard University Press, 2001. Paperback. Condizione libro: Very Good. Codice libro della libreria P020674006739
Descrizione libro Harvard University Press, 2001. Paperback. Condizione libro: Like New. Codice libro della libreria P010674006739
Descrizione libro Harvard University Press, 2001. Paperback. Condizione libro: New. Codice libro della libreria DADAX0674006739
Descrizione libro Harvard University Press, 2001. Paperback. Condizione libro: New. Codice libro della libreria P110674006739
Descrizione libro Harvard University Press, 2001. Paperback. Condizione libro: Good. Ships with Tracking Number! INTERNATIONAL WORLDWIDE Shipping available. May not contain Access Codes or Supplements. Buy with confidence, excellent customer service!. Codice libro della libreria 0674006739